At Briarcliff, it’s hard to tell what’s real. Fitting for an insane asylum. When liars speak, we see their vision. We see fantasies.

Who is good, who bad? I’m now on team Jude.

We open as Jude visits Mr. Goodman, a Nazi-finder/death camp survivor. She’s brought him Arden’s meager file. His biography might be fake, as were those of many Nazi scientists recruited by the joint intelligence objectives agency after the war in “Operation Paper Clip,” Goodman says. The camera pans to a map with pictures of young S.S. men pinned to it. Goodman asks if Jude’s ever seen Arden shirtless. S.S. men always had their blood type tattooed on their arms. He warns her not to do anything to alert Grouper/Arden yet.

Sedated, strait-jacketed Anne, caught by Sister Mary Eunice after shooting Dr. Arden, tells Jude about a monster with no legs—we know it’s Shelley. But when Jude searches the lab she finds nothing.

A man comes looking for his wife, Anne, whom he says is Charlotte Brown, née Cohen. They have a five-month old son with colic whose crying has driven her cuckoo. His wife became obsessed with Anne Frank after they saw the play in Boston. As he talks, we see clips of Charlotte/Anne tattooing herself, creating an Anne Frank clippings room in the den, and ignoring her child.

At the door, Dr. Thredson says it seems “more like a case of post-partum psychosis.” “How long have you been standing there, Dr. Butt-insky?” Jude asks.

Anne is released to Mr. Brown, whom she doesn’t recognize—until he shows her the happy family with baby picture.

Meanwhile, Grace tells Kit she thinks Jude is the devil. Close. Sister Mary Devil releases Kit from solitary, but Grace is still scheduled for sterilization surgery. Kit confesses his false memories to Thredson, who records them.

Rumblings and bright light: Grace sees Alma on a table in white gauzy light, talking to a very pregnant being who says she is now Alma.

Alien abduction it is, then.

Jude leaves a message for Dr. Goodman to forget the whole thing, but Dr. Arden overhears. Relieved to learn Jude found little in his lab, he still threatens to press charges for the attack.

Sister Mary Eunice changes the dressing on Dr. Arden’s leg, apologizing for being “untoward,” or lewd. Wisely for a man who has a woman with a scissors inches from his groin, Arden smiles and suggests they chalk it up to the barometric pressure.

He thanks her for protecting him.

“Protecting us,” she replies with a smirk. Flashback to scene of her dragging Shelley away. We always knew the Devil and the Nazi were in love. Schoolchildren shriek when they see Shelly dragging herself up basement steps.

Mr. Brown brings his crazy wife back to Briarcliff. Arden performs a trans-frontal lobotomy on Anne, involving a chisel and crunchy noises.

Jude prays to St. Jude, the patron saint of hopeless causes. She tells Frank the guard how as a little girl she fed a pet squirrel. She prayed and prayed when it died. Her mother came in and threw it in the garbage. Jude cried, saying “God didn’t answer my prayers.”

Pouring a whiskey, mother answered “God always answers our prayers, Judy, it’s just rarely the answer we’re looking for.” Now we know Jude took a saint name that was her own name.

“It’s over for me, Frank,” she says.

Frank becomes progressive. “Men are never going to accept a woman being in charge, especially a woman as strong as you are.”

Lana escapes with Dr. Thredson. He takes her to his mid-century cool apartment, and tells her to call him Oliver. “You’re the person to write my story,” he says.

Uh oh. “Your story?”

He turns on a lamp. Its shade is made of skin. There are nipples.

Lana excuses herself to snoop, but he finds her in a room holding skulls and scary tools.

With Lana in the white-tiled dungeon is Wendy. Dead. Wendy is there for Lana’s therapy, Thredson says. “You can begin by kissing her cold lips.” Somebody’s been listening to “I Am Stretched On Your Grave” by Sinead O’Connor.

Thredson puts on the Bloody Face mask, which has Wendy’s teeth.

Cut to young Jude, the singer, in bed with a man from a bar, robbing him.

Mr. Brown comes home to his Stepford wife. Charlotte assures him, with no trace of the Anne Frank accent, that she’s never been happier.

The camera pans to a picture Anne Frank had pinned up of Hitler and his entourage. It zeroes in on a man standing behind him.